Unwonted Eye, Christo Brock
In his latest work, Brock continues to explore unwonted (unusual, unexpected) imagery from everyday life. His eye ranges from the languid rolling ocean in “Ripples #3” to the macroscopic “Tortured Orange Line” and the enhanced fantastical forest-scape of “Christmas Trees”. In all his imagery, printed exclusively on metal, Brock shows the unique vision that has characterized his work.

It’s this metal surface that provides a medium to complete Brock’s abstraction of image. These photographs don’t merely sit on the metal as a photograph - they seem to live in the metal. His images shimmer and glisten, and the metal often adds a welcome element of abstraction to his work. At times, Brock plays with the metal, as if daring to evoke the molecules to speak. Dew Drops become glowing orbs, waves become undulating stripes of blue, trees become lines of color and depth.

In his triptich “Pearl Harbor, 23 December 2011” Brock pursues this approach in photos taken only minutes apart at the Hawaii National Park that memorializes the horrible attack that brought America into war. The oil floating on the surface above the sunken monument USS Arizona has an eerie visual shimmer to it. It’s like looking at a series of demon clouds conjured from a 70 year old monument eager to speak its secrets.

In the piece entitled Tiny Bubbles, tiny bubbles appear arranged with a hidden logic, and the piece looks to be a close-up view of piebald crocodile skin. Brock reveals that it was shot it was condensation on a fruit bowl’s saran wrap.

“I don’t like to reveal to people what the image was,” Brock says with a wry smile, “because when I took the image, it was one thing. Now it’s something else.” When pressured, Brock will reveal the provenance of the original image, but he much prefers to let the viewer decide. “People ask me all the time what the image “is”. … when what they really mean is, what did I aim my camera lens at. Now, it’s something else, and I want people to feel that new thing.”

Choreographed Color, Elizabeth Szymczak
"Contemporary figure painting has become, for the most part, too stabile. People sit, stand, or lie around the house or garden, stolid and inert, their poses without animation, often they seem as if they were stuffed. By not moving, they often fail to move us: the loss of animation has meant a loss to painting, in the range of both expression and subject matter,” wrote art historian Gerald Ackerman in his paper, “On Motion in Art”.
Elizabeth Szymczak captures the dynamism of motion, whilst maintaining an exemplary level of realism. She paints out of a love for dance and the expressing of emotion through movement. Szymczak’s paintings render what the figures are attempting to evoke.

As her latest body of work, Choreographed Color is a more positive collection. Szymczak concentration is centered on the blend of surrealism and realism. As in life, she is striving to find the right balance between expression and approach.

JUST PICTURES, Kamil Vojnar
Just Pictures is anything but… JUST PICTURES. Its a desperate cry, … it’s a hand sticking out from the water, trying to grab to whatever, to anything, that is still true and real, in today’s fast-paced world. Vojnar himself pronounces his work to be above everything else, … about collisions … “Of yellowish nostalgia, melancholy, of our sepia tinted past. colliding with the cold, ultra LED HDTV plasma, retina display, uninspiring, robotic present.”

Vojnar utilizes many paradoxical elements in his work. His pieces have a gritty, yet delicate and elegant feel. They are ethereal, yet remarkably tangible. The drips of paint, the layering of the image across numerous pieces of paper and the familiar elements and details in each piece (shoes, a sofa, a mirror, etc.) make the work part of our world. At the same time, central to the images are figures that are detached and untouchable. Like a muse or angels, they elude the viewer and perhaps the artist as well.

As we move awkwardly towards a more symbiotic relationship with technology, new user interfaces must be designed. Due to an increasing dependency on our devices and the quest for a more seamless user experience, tech companies are racing to define the new UI landscape.

The works in Unhide consider different aspects of the contemporary mediated experience. Some function as formal compositions that allude to potential interfaces. Others work as metaphors that gesture towards a more featureless, harmonious form for tomorrow's UI. Combined, the works provide the means for one to picture what is an ambiguous approaching reality.

The glacier knocks in the cupboard
The desert sighs in bed
And the crack in the teacup opens
A lane to the land of the dead

- W. H. Auden

Luis De Jesus Los Angeles is very pleased to announce DENNIS KOCH: CATCH-22 X TWO, an exhibition of new large scale drawings on view in Gallery 1 and Gallery 2 from February 21 through March 28, 2015. An artist's reception will be held on Saturday, February 21st, from 6 to 8 p.m.

Working primarily in the medium of drawing, Dennis Koch makes meticulously structured abstract works inspired by the scientific fields of physics, cosmology, dimensional mathematics, parapsychology, and altered states of consciousness. CATCH-22 X TWO, marks the tensegritic enfoldment of two concurrent bodies of work by Koch: his large amorphous Scrambled Channel drawings, which are abstract impressions generated from exercises in remote viewing, and the more Euclidean Versor Parallel drawings, which are circular geometric structures analogous to a Buckminster Fuller tensegrity sphere. The Scrambled Channel and Versor Parallel drawings present two divergent perceptual frameworks woven together, entangled, focalized, and perhaps nullifieda double fantasy times a double paradox.

Inspired by Versor algebraa means of modeling a rotation three-dimensional sphere in two-dimensional Euclidean spacethe series of Versor Parallel drawings depicts the implosion of a circular toroid. Shifting from gray to full-spectrum color, the circle turns itself inside out. Koch's Scrambled Channel drawings are the right-brain corollary to his more logically structured, left-brain oriented, Versor Parallel works. Sometimes anthropomorphic images emerge, or a topography seemingly devoid of scale, while other times they have the appearance of wave-like distortions reminiscent of coalescing plasmatic birkleland currents.

Continued>

Included in the exhibition is a diptych made in collaboration with Koch's twin sister Talitha Wall, titled Catch-22, a collection of 22 channeled thoughts recorded by Koch and Wall referencing everything from Philip K. Dick, to Velikovskian Catastrophism, to helpful tips for time travel, and GMO research on the moon.

Also accompanying the exhibition will be a new publication on the artist’s work with an essay by Dr. Aziz Aziw, titled “Valis Schmalis”. The essay is a consideration of science-fiction author Philip K. Dick's “VALIS time loop” theory. Dr. Aziw is a frequent guest and contributor on the web podcasts “Moon Room Cinema” and “Always Record” of Sync Book Press, which have a cult following among fans of Stanley Kubrick and Philip K. Dick.

Dennis Koch was born 1978, Cedar Falls, Iowa. He received a BFA in Studio Art and a BA in Political Science from the University of Iowa, Iowa City, IA. He splits his time between Iowa and Los Angeles. Koch has previously exhibited in Los Angeles with Marine Projects, Happy Lion, Kantor Gallery, High Energy Constructs, Royale Projects, and the Torrance Art Museum, as well as Galerie Zurcher, New York; Galerie Sabine Knust, Munich; and Miyake Fine Art, Tokyo. In November 2013, Koch was featured as one of 7 emerging male artists to watch in in Los Angeles Confidential Magazine.

For further information, please contact the gallery at 310-838-6000, or email: gallery@luisdejesus.com.

Western Project is proud to present the third solo exhibition by Thomas Burke. Originally from Boulder City, Nevada, the artist has lived and worked in New York since 2005. This bold body of work continues his interest in diamond shaped compositions, large in scale, forcefully illusive; new propositions in the lineage of geometric, hard-edge painting. Burke mines minimalism, color field painting, and op art of the 1960s. It is drawn with digital technology and hand sprayed with dozens of layers resulting in immaculate surfaces on metal panels. The paint is built up in formal structures creating a central point or visual peak; each a kind of dynamic rogue-wave structure. Using contrasting light and dark color values, the paintings appear to leap into the viewer’s space as though they are three-dimensional sculptural works. Burke’s intuitive use of color creates movement in the paintings. He writes:

I work on it until it feels right. It’s right when it’s bold but appealingly balanced with unexpected choices. I try to avoid color that's bound up with meaning, both cultural and personal… meanings vary with fashion and taste and time…..Paintings are to be lived with and looked at, and I aspire to make mine loud and subtle, fast and slow.

Mondrian’s interest in the universal balance of nature was reflected in his use of the grid; Burke’s grid knowingly spins and convulses, suggesting an aesthetic jolt for our hyper-driven time:

Optical effects are a tool to create motion in the compositions. It makes the curves, which along with color make the sex. I’d rather be taken for a formalist than a practitioner of Op-art. I don’t care much about the merits of Op-art, and its art-historical politics are unfortunate and distracting. Op is a means to an end.

One could also look to early concert posters from the Fillmore or Avalon Ballroom in San Francisco as psychedelic precedents; optical advertising for an experience rather than product. Burke’s not dissimilar sensibility disrupts any architectural context; as an interference, a psychic wave. While his language comes directly from technology and the digital world of systems, mathematics and design, it is a landscape or mirror of the mind, not the exterior physical world. Conversely, it is a knowledge felt, not understood. As technology implies logic, Burke puts it to service for a more personal, contradictory, and perceptual vision.

Thomas Burke received his BFA from the University of Nevada at Las Vegas in 2002 and in 2004 attended the Skowhegan School of Painting and Sculpture. He has exhibited with Ameringer McEnery Yohe in New York, James Kelly Contemporary in Santa Fe, and Galerie Jean-Luc & Takako Richard in Paris, France. His work was highlighted in the Las Vegas Diaspora: The Emergence of Contemporary Art from the Neon Homeland curated by Dave Hickey at the Las Vegas Art Museum in 2007 and the Laguna Beach Art Museum in 2008. His work is in numerous museums, as well as public and private collections.

Upon the pedestals rest pot metal, a croquet ball, a bowl, copper tubing, a gourd and some shrink-wrap. The wall works are made of Ultracal and ringed with rubber hose, a jump rope and plastic. The pedestals are built of pine, birch, maple; some finished with altered wallpaper patterns, shellac and acrylic paint.

“Jason, you might consider combining the sections of the thin floor lamps to make one of two endless columns.”

The objects upon each pedestal are found in thrift and second-hand stores. The motley collection is bought by the artist’s father-in law and sporadically boxed and sent to Losh. He uses these items and constructs them into particular compositions, sequences and
arrangements.

“You should consider that sculpture is elusive. It presents too many faces at once.”

The surface of each component is carved with a distinct history. Cracks, dents and paint abrasions that have accrued over decades distinguish their weathered surfaces. The wall sculptures are laced with ropes and etched with lines that record the artist’s hand.

“Consider that presentness is grace.”

The surfaces of Losh’s pedestals are either laid bare or laid with William Morris wallpaper patterns. They are essential objects that contain the elegant, gestural movement of each piece through consummating their raw presence.

“Jason, simplicity is complexity resolved.”

Jason Bailer Losh’s works are composed of everyday materials repurposed into wholly new objects. They feel visible and familiar, yet relate outside of their tactility and functionality. Through the artist’s hand, common, commercial and domestic objects are exposed of their sculptural, formal and physical dimensions.

The exhibition opens February 27th and is on view until April 4th. An opening reception will be held Friday, February 27th from 7-9PM.

Jason Bailer Losh (b. 1977, Iowa) received his MFA from School of Visual Arts. Losh’s work has been recently exhibited at several public and private institutions including The Museum of Love and Devotion, at Fairview Museum of Art and History in Fairview, Utah; the Gala at Greystone for LAXART, Los Angeles; and Rockaway!, an exhibition organized by Klaus Biesenbach at PS1/Rockaway Surf Club, NY. Losh has also participated in Soft Target, a group exhibition curated by Phil Chang and Matthew Porter at M+B Gallery, Los Angeles; and Building Materials, a group show curated by Lucas Blalock at Control Room, Los Angeles; and a group exhibition at CANADA, NY. He lives and works in Los Angeles.

She made my favorite works with words, and I had never heard of him at all, except for a quote in this one paperback. At this stage, I even feel strange putting them both in the same sentence, even though they shared a canvas and it was massive. It wasn't like boxers or wrestlers share a canvas. He disappeared and she's still a favorite. I was still a teenager and in a new city.

“Protect me from what I want.”

“An artist paints a picture. A vandal breaks a window. A graffiti artist paints a picture on a window and breaks it.”

“Abuse of power comes as no surprise.”

A few gaming consoles down and those flashing lights and business marquees have been spurned for millions of small glowing panels, held bedside, above thigh highs, eye-height with pursed lips, near breast, cupped in hands that could be useful for breeding mosquitos, just as well as absorbing waves, just as well as affecting tissues in unknown ways. Where's Andy Dick's Tumor Toppers on ? Am I gonna have to make the gif myself?

the new stuff is awesomeeee. when is it all finished? any more sneak peeks? >:3

Yeah idunno I'm just not feeling it right now. it was a great day but I feel like I did this before and I feel like I don't want to make the same mistakes

???

oops wrong window.

'Don’t write on houses of worship, people's houses in general, other writers’ names, and tombstones. Writing on memorial walls and cars is beef beyond belief. Furthermore, involving civilians in your beef is grounds for dismissal. These are the five fingers of your right hand. Get to know them well. Give soul claps, firm handshakes, and throw smooth bolo punches. Although being a toy seems undesirable, you should enjoy it while you can. At this stage you can bite all you want with no remorse. All your elders will say is, "Awww isn't that cute…” So steal that dope connection, rob that color scheme… Don’t worry about giving any credit, we'll pat ourselves on the back and brag how we're influencing the next generation.'

George Billis Gallery is pleased to present the gallery’s third solo exhibition of paintings and drawings by Anne Seidman. The exhibition features the artist’s most recent body of work and continues through February 21st.

Seidman writes of her work: “These new works I use modular units of blocks, triangulated shapes and line to construct an evolving organic form. The form is built one unit at a time while I simultaneously keep my eye on the whole.

In some of the works I use color pencil and tape with text. Each time I draw or place a unit I do so with an unblinking consideration for how it will associate with pieces already firmly planted. The chunks of cut and pieced together type are used to suggest energy, an underlying support and the sound of babble.

During the process of building the form a single unit might be nudged up, then over and sometimes added to an already exaggerated and stretched out column. Other times a unit that is placed too far out, practically teetering, appears to be testing gravity and its consequence. Ultimately all forms are steadied by an unknown balance elsewhere in the plane.

A sense of consciousness and a sense of place within forms and between their edges is made by allowing an unwilled execution to coexist with restrained judgment. Contiguous form and unexpected color and relationships are some of the recurring themes that create abstract narratives in the work.

The work is constructed in a single plane without depth. Some see dimension in the work but that is not my intention. At times the work might read as landscape or figure but it is intended to describe only itself.”

George Billis Gallery is pleased to present the gallery’s second solo exhibition of paintings by Karen Woods. The exhibition features the artist’s most recent body of work and continues through February 21st.

Woods writes of her work: "I paint in the realist tradition as a way to communicate the sublime in the ordinary. For several years now the radiance of the road has been the overt subject of my work.

“From Here” is about the particular view as a passenger of the many lanes of traffic on southern California’s highways and suburban streets. The wet roads and rain-soaked windshields—so welcome in this season of drought—both diffuse and highlight this radiance.

I seek to capture the sense of intimacy inside a car, the state of floating and suspension at high speeds, the sense of isolation and community between myself and fellow commuters, the steady stream of traffic and its resemblance to natural phenomena.”

Glike Gallery is pleased to announce a two-person exhibition with Diane Christiansen from Chicago and Seung Huh from NYC. This is the first time these artists have exhibited with the gallery. Both artist use nuanced and bold linear abstractions to define the figure in sometimes exaggerated and humorous ways. Diane Christensen paints oil in worked-over plaster supports and Seung Huh paints oil aggressively and confidently onto canvas. An opening reception will be held on February 27th from 7- 11pm.

Park View is pleased to announce “A New Rhythm,” a four-person exhibition with Charles Atlas, Benjamin Carlson, Nancy Lupo, and Silke Otto-Knapp. An opening reception will be held on Sunday, 1 March from 2-5pm, and it will run at 836 South Park View Street, Unit 8, through 5 April.

The exhibition includes film by Charles Atlas, painting by Benjamin Carlson, sculpture by Nancy Lupo, and painting by Silke Otto-Knapp. Distinctive strategies of abstraction highlight multiple areas of life and relate them back to a bodily awareness. The works may be interpreted as representations of dancing bodies, shopping bodies, screaming bodies, seeing bodies, imbibing bodies, caretaking bodies, and styled bodies.

Dance functions as a metaphor, with each work trapping arrhythmic experiences of reality with a paradoxical lightness into forms and images that capture the moment. Overall, the exhibition proposes a new rhythm that is grounded by a discipline that seeks to defy gravity, “an exactitude of vertigo.” (1) (2) (3)

Nancy Lupo (b. 1983) was born in Flagstaff, Arizona, and she lives and works in Los Angeles. She received her MFA from Yale University in 2011 and her BFA from The Cooper Union in 2007, and she attended the Skowhegan School of Painting and Sculpture in 2013. Her works have been exhibited in solo and group exhibitions at Wallspace, New York; MoMA P.S.1, New York; LAXART, Los Angeles; Laurel Gitlen, New York; C-L-E-A-R-I-N-G, New York; Michael Thibault, Los Angeles; Freedman Fitzpatrick, Los Angeles; and Soloway Gallery, Brooklyn, among others. She has received numerous awards, including most recently The Rema Hort Mann Foundation Visual Art Grant in January 2015.

Benjamin Carlson (b. 1982) is an artist and writer living in Los Angeles. He received his BFA from the Rhode Island School of Design in 2004 and his MFA from Art Center College of Design in 2011. His work has been included in group exhibitions at Overduin and Kite, 356 Mission, Greene Naftali Gallery among others. His writing has appeared in Artforum, Texte zur Kunst, Frieze, Dossier, and Time Out New York.

Charles Atlas (b. 1949) was born in St. Louis, MO, and has lived and worked in New York City since the early 1970s. His work has been exhibited domestically and internationally in such institutions as Tate Modern, London; the Museum of Modern Art, New York; the Centre Pompidou, Paris; the Institute of Contemporary Art, Boston; Hamburger Bahnhof – Museum für Gegenwart, Berlin; and the Whitney Museum of American Art, New York. Recent solo exhibitions include the New Museum, New York; the De Hallen, Haarlem; and Bloomberg SPACE, London. Upcoming exhibitions include Strange Pilgrims at The Contemporary Austin in Fall 2015, as well as a survey of Leigh Bowery’s work at the Manchester International in 2016. In January 2015, Prestel Publishing released Charles Atlas, the first major publication on Atlas’ work, featuring writings by Stuart Comer, Douglas Crimp, Douglas Dunn, Johanna Fateman, and Lia Gangitano.

Charlie James Gallery is pleased to present From The Primitive To The Present, the first solo exhibition of Los Angeles-based artist Amir H. Fallah with the gallery.

Fallah began working on this exhibition one year ago by searching through listings of estate sales taking place around Los Angeles. After picking a sale at random, he went on to purchase several objects belonging to a family who had lived in North Hollywood for a generation. Fallah left the sale with diaries, home movies, clothing and other objects chronicling the family’s personal history; he then spent the course of the next year sifting through these fragments of the family’s life, filling in the gaps where necessary, to create a narrative and build portraits of the family members through painting, sculpture and collage.

Fallah presents five large paintings for the show; abstracted portraits of the family members, who are never named and remain anonymous. The canvases have been crafted and in some cases shaped to resemble objects taken from the home. The figures in Fallah’s portraits are faceless, their forms are composed of fabric patterns, objects and details associated with each individual family member. Cast sculptures of personal mementos are exhibited on a large plinth, taking on a fossil-like quality as though excavated. Fallah has also created a collection of collages from old family photographs, using dried oil paint to obscure all recognizable features – the dried oil paint the remnants of the paint used in the portraits of the family members. Working simultaneously as private eye, archeologist and accidental stalker, Fallah creates new narratives that tell universal stories of love, life, and regret.

Concurrent to the exhibition at the gallery, Fallah is exhibiting a project at the 18th Street Arts Center in Santa Monica running from January 12th thru March 27th. Following the exhibition at Charlie James Gallery, Fallah travels to Overland Park, KS for a site-specific installation at the Nerman Museum of Contemporary Art.

Amir H. Fallah lives and works in Los Angeles, CA. Fallah received his B.F.A. from The Maryland Institute College of Art and his M.F.A from UCLA in 2005. He has exhibited both nationally and internationally. Exhibits include shows at Weatherspoon Art Museum, The Sharjah Biennial 2009, LA Louver, The Third Line Gallery in Dubai, UAE, Gallery Wendi Norris in San Francisco, Baer Ridgway Exhibitions in San Francisco, Cherry And Martin, 31 Grand, Frederieke Taylor Gallery, Mary Goldman Gallery, among others. He has been a visiting lecturer at a range of institutions, including Columbia College, USC, UCLA, Cleveland Institute of Art, California State University, University Of New Mexico, Otis College Of Art, and Maryland Institute College of Art. Additionally, Fallah was the founder and editor of Beautiful Decay magazine for more than a decade.

Charlie James Gallery is excited to welcome the curatorial practice of LA curators Adam Miller and Devon Oder, better known as The Pit: Exhibitions and Editions from Los Angeles.

Using the location of the project space at the gallery as inspiration, The Pit has brought together works of drawing, painting, photography, sculpture and ceramic inspired by “the underground”. Artists included in “Where the Sand Worm Slumbers” are Naotaka Hiro, John Williams, Aaron Morse, Matt Merkel Hess, Dani Tull, Julia Haft-Candell, Adam D. Miller and Devon Oder.

The show takes its title from the iconic Science Fiction series Dune by Frank Herbert. In the books the sandworms are gargantuan desert dwelling creatures that are worshiped as manifestations of the “earth deity”. For the exhibition “Where the Sand Worm Slumbers” Miller and Oder were interested in incorporating the physical space of the basement into the conceptual grounding of the show. The show brings together artworks that reference freedom, the vastness of nature, elements of the earth, and even at time personal spirituality being found underground in a claustrophobic, slightly oppressive space.

In addition to the show, The Pit is printing and publishing a Risograph printed zine to accompany the exhibition that will be produced in an edition of 200.

Couturier Gallery is delighted to welcome back ceramist and musician Brian Ransom, after an absence of 16 years, for “Whistling Water Vessels,” an alluring exhibition of musical instrument clay sculptures. The works in this series visually and aurally explore a symbolic dialogue between archetypal characters imbedded in sexually and emotionally charged innuendos vignettes within the format of a pre-Columbian design known as “jarros silvantes,” or whistling vessels, used by ancient cultures in the Americas. The exhibition will continue through April 11.

Brian Ransom (b. Oregon, 1954) has had a distinguished career as a ceramist and musician. A graduate of Claremont Graduate School (MFA in sculpture) and protégé of Paul Soldner, Ransom also received a Fulbright/Hayes Congressional Fellowship (1978-79) for research on Pre-Columbian musical instruments in Peru. From this experience he began his thirty-plus year investigation building his own clay instruments. A consummate musician, proficient at a wide range of wind, percussion and stringed instruments, Ransom found it essential to make his own vessels to provide the sounds needed for his compositions.

Ransom’s early works were very direct references to the pre-Colombian instruments he discovered in Peru. These included the Whistling Water Jars, Flutes, Kuwikas, Hooters, Rattles, Bells and Drums. The exacting and exasperating challenge of tuning his clay instruments before they are fired was not enough for Ransom. He pushed to create his own aesthetic for these functional objects so that when lying dormant they could serve as compelling sculpture. For this exhibition, Ransom’s investigations led him to develop their particularly unique forms and narratives:

I have done extensive anthropological research regarding these unusual ceramic instruments, and though few certain conclusions may be drawn as to their actual function, most agree that they were influenced by a religious idea known as animism. The concept of animism posits that all objects- organic, static, or ephemeral- are imbued with a life force which runs through them. The addition of water and sound to these sculptural vessels reinforces the unity of this idea.

My approach to making these pieces has been a combination of the formal, playful, and at times darkly humorous, focusing on the sometimes solemn, yet often, capricious nature of human physical and emotional attraction.

In addition to his Fulbright/Hayes Fellowship, Brian Ransom is also the recipient of a National Endowment for the Arts Fellowship. He is the founder of the Brian Ransom Ceramics Ensemble with whom he has recorded and performed his own compositions and has lectured extensively. Ransom’s unique instruments may be found in public collections including the Everson Museum, Syracuse, NY; New York State College of Ceramics at Alfred University Museum; University of Tulsa Collection, Tulsa OK.

Klowden Mann is very pleased to present Serenade, a solo exhibition of new paintings by Los Angeles-based artist Christine Frerichs. The exhibition is Frerichs’ second with the gallery, and continues her focus on memory, relationships and the construction of personal identity, as expressed through abstract painting. The exhibition centers around a series of paired canvases layered with thick oil paint, acrylic and wax, using subtle, bold, light and dark colors, and curving textured lines which ripple across each of their surfaces. These formal qualities describe an abstracted representation of two figures, and the visceral experience of different landscapes as they relate to the physical and emotional self. The exhibition will be on view from March 7th through April 11th, 2015, and will also feature several of Frerichs’ smaller individual 8.5 by 11 inch works in the gallery project room. The gallery will hold an opening reception on Saturday, March 7th from 6 to 8pm, and an artist talk on Saturday March 21st, at 4pm.

Christine Frerichs (b. 1979, Los Angeles) has been exhibited in numerous group exhibitions at venues including ACME, CB1 Gallery, Young Art (Los Angeles, CA), Vincent Price Museum (Monterey Park, CA), Sweeney Art Gallery (Riverside, CA), Duchess Presents (Chicago, IL), the Museum of Contemporary Art (Tucson, AZ), and Kevin Kavanagh Gallery (Dublin, Ireland), and in art fairs with Klowden Mann in New York, Houston and Miami. Solo exhibitions of her work include Klowden Mann and Kaycee Olsen Gallery in Los Angeles, and a solo presentation at VOLTA NY in New York. Frerichs’ work has been reviewed by ArtForum, The Los Angeles Times, and published in New American Paintings, as well as being featured by Two Coats of Paint, Notes on Looking, and many others. She received her B.F.A. from the University of Arizona in 2002 and her M.F.A. from the University of California, Riverside in 2009. Frerichs is currently adjunct faculty at Otis College of Art and Design, East Los Angeles College, and Long Beach City College.